dglink Eyes concealed behind dark sunshades, Charlie and Lee barge into a school for the blind, rough up the blind receptionist, and shoot a teacher in the presence of his sightless students. Lee Marvin as Charlie and Clu Gulager as Lee are a tough pair; they want answers, they get answers, and take no prisoners. Thus begins director Don Siegel's fine remake of the 1946 original "The Killers," which starred Burt Lancaster and Ava Gardner. Both films were based on an Ernest Hemingway story, but the 1964 version was scripted by Gene L. Coon, who retold the story from the point of view of the two hit men. After the job, the two killers leave town by train, and Marvin begins to wonder why their target, a man named Johnny North, did not run, although he knew they were coming. Other details nag him as well; why were they paid $25,000 for a simple job? Who hired them? and Where was the million dollars missing from a mail job that involved North? Marvin and Gulager pursue the answers to those questions, and a series of flashbacks flesh out a tale of crime, lust, and betrayal. Claude Aikens, who was a mechanic working for North, a race car driver played by John Cassavetes, details how North became involved with Angie Dickinson, who, as Sheila Farr, was a woman with expensive tastes and no visible means of support. Norman Fell, as Mickey Farmer, sidekick to a snarling Ronald Reagan, fills in further gaps, while trapped in a steam cabinet with Gulager at the thermostat. A third final flashback fills in the remaining details."The Killers" is a terrific heist film; taut, hard, concise; no filler. The cast is excellent. Marvin and Gulager are convincingly mean; they do not threaten, they act. Overcoming his now-too-familiar image, Reagan, in his last feature film, is a stand-out and matches Marvin mean-streak for mean-streak. Leggy and lovely Angie Dickinson runs the gamut in a role of shifting motives; sexy and soft, tough and cool, victim and victimizer. Always an interesting actor, John Cassavetes as Johnny North is shot to death early on, but re-appears in the flashbacks as a somewhat naive, easily manipulated patsy. Some obvious rear-projection during the racing sequences distracts, but otherwise "The Killers" is an exciting, first-rate effort from Don Siegel, who later directed "Dirty Harry" and earlier was responsible for the sci-fi classic "Invasion of the Body Snatchers." Clint Eastwood considered Siegel his mentor and dedicated "Unforgiven" to him; a clear indication that the best learn from the best.

jadedalex First off, I don't recognize this film as having anything to do with the forties' mini-classic. This was originally intended as a 'tv movie', and damn if it doesn't look like one. I'm expecting 'A Quinn Martin Production' credit somewhere.The film was deemed too violent for television, and although tame by today's standards (aren't most old movies?), it was a bit brutal, courtesy the always interesting Lee Marvin and the less interesting Clu Gulager.I didn't observe any chemistry between Cassavetes and Dickinson's characters. Hard to relate to any of the cast because they are all basically up to no good. Angie Dickinson in particular looked rather plain for a woman who could put on the glam when she wanted to.Ronald Reagan is phoning this performance in, almost as if he's aware of the trash he is making here. When given a good script, most of these actors do fine jobs, but personally, I get a bigger kick from old gory black and white 'Untouchables' programs.The only interesting note is that Virginia Christine, the Folgers' coffee lady, appears in both this 1964 version and the original from 1946, in different roles. Somehow turning an interesting old film noir into a sixties' television movie was a definite step backwards. I won't sit through this again.

tomgillespie2002 Originally intended to be the first 'TV movie', Don Siegel's brutally thrilling and ice-cool adaptation of Ernest Hemingway's story was deemed too violent for the small screen. With filming taking place as John F. Kennedy was assassinated and one key scene certainly bringing the incident in Dallas to mind, The Killers was tactically granted a cinema release instead. Such a talented and experienced cast, and a director who delivered at least one masterpiece throughout his career, The Killers was always going to be too good not to appear on the big screen. More of a re-make of Robert Siodmak's 1946 film than of Hemingway's text, Siegel drops the film noir tone in favour of bright and sunny exteriors, while somehow heightening the sense of pessimism throughout.After a routine hit in which race-car driver-turned-teacher Johnny North (John Cassavetes) is gunned down at a school for the blind, hired killer Charlie (Lee Marvin) and his partner Lee (Clu Gulager) discuss the strange way Johnny allowed himself to be killed and offered no resistance. Deciding the circumstances are too strange not to warrant further investigation, and with the possibility of recovering a missing $1 million, the two thugs interview Johnny's former mechanic friend Earl (Claude Akins). He tells them of Sheila (Angie Dickinson), the femme fatale who stole Johnny's attention, and her lover, the fearsome mob boss Jack Browning (Ronald Reagan), who embroiled Johnny and his skills behind the wheel in a million- dollar heist.Appearing in his final movie role before moving into politics and becoming one of America's most infamous presidents, Reagan steals the movie as the slimy gangster Browning. He apparently hated the role, and had always played the hero during his career, but he proves to be surprisingly apt at playing a loathsome criminal. The Killers is remarkably tough, emphasising the roles of Marvin and Gulager's heartless brutes, who both have no qualms about dangling a woman out of a high-rise window. Despite Marvin's hulking presence, its actually Gulager who steals their scenes, with his mix of all- American handsomeness, preening narcissism and emotional coldness giving dimension to his stock character. The sickly brightness of it all does little but highlight the film's budget constraints, but The Killers thrills thanks to Siegel's unfussy direction and terrific performances all round.

Harriet Deltubbo Surprised that their contract victim didn't try to run away from them, two professional hit men try to find out who hired them and why. The story is well told, my only problem with the film was the supporting cast. It's the kind of film that proves that a small story can be much more meaningful than a larger one. A great score and tight editing help. The cinematography is stark and bare, with only the soundtrack adding some effect. From an artistic standpoint, there were some plot elements and character developments I didn't think were totally needed. Watch for Ronald Reagan in an understated role. Verdict comes in at 7 out of 10.